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in flower and fruit pieces, some of the former being imitations of J. B. Monnoyer and J. van Huysum. Later in life he took to landscape-painting with some success. His residence at Halesowen brought him the friendship of Shenstone [q. v.], the poet, and of George, lord Lyttelton, both being neighbours. With another neighbour at Hagley, Anthony Deane, he became so intimate that he was received into his family as one of its members, and moved with them to Bergholt in Suffolk, and eventually to Bath. He was a good landscape-gardener. In 1760 he sent two paintings of fruit to the first exhibition of the Incorporated Society of Artists, and exhibited again in 1763 and 1765. On 8 Sept. 1796 he married at Burlington Miss Lister, a native of York. He eventually settled at Burlington, but thenceforth did little important work in painting, spending, however, much time in sketching tours with his wife. He died at York on 10 June 1807, in his seventy-third year. He was buried at Fulford, and a monument to his memory was put up in Castlegate Church at York. His widow published a memoir of him after his death, to which a portrait, engraved by W. T. Fry from a drawing by R. Hancock, is prefixed.

There are three water-colour landscapes by him in the print room at the British Museum, including a view of Sidmouth Bay. Some of his works were engraved, notably 'Partridges,' in mezzotint by Richard Earlom. He is sometimes stated to have been a brother of Valentine Green [q. v.], the engraver, but this does not appear to be the case.

Benjamin [q. v.] and seem to have been his brothers. The latter, probably a pupil of the eldest James Basire [q. v.], engraved plates from William Borlase's drawings for the 'Natural History of Cornwall' (1758), and also views for the 'Oxford Almanack,' besides some portraits, including one of Dr. Shaw, principal of St. Edmund Hall, Oxford (, Engl. Topography;, MS. History of English Engravers, Brit. Mus Addit. MSS. 33401)

 GREEN, BARTHOLOMEW or BARTLET (1530–1556), protestant martyr, was born in the parish of Basinghall, city of London. He was of a wealthy catholic family, and at the age of sixteen was sent by his parents, 'who favoured learning,' to Oxford, proceeding B.A. in 1547 (, Fasti, ed. Bliss, i. 125;, Reg. of Univ. of Oxford, i. 212). At the university he was a laborious student, and was converted by Peter Martyr's lectures to the protestant religion (, Acts and Monuments, ed. Townsend, vii. 731-46). On leaving Oxford Green entered the Inner Temple, and after a period of dissipation his earlier impressions revived, and he gave up his worldly amusements. His family were scandalised by his protestantism, and his grandfather, Dr. Bartlet, offered him bribes to abandon it. At Oxford Green had made friends with Christopher Goodman [q. v.], and on Easter Sunday 1554 took the sacrament with him in London before Goodman went beyond the seas (, Essays on the Reformation, 112). A letter from Green to Goodman was intercepted in 1555, in which he told his correspondent 'The queen is not dead.' It was read before the council, and Green was thrown into the Tower on a charge of treason, which broke down. He was then examined on religious questions before Bonner in November 1555. He was again sent back to prison (to Newgate), but was re-examined (15 Jan. 1555-6) before Bonner and Feckenham [q. v.] and condemned to be burnt. Foxe gives a detailed account of his martyrdom, and of the letters he wrote before his death. His character seems by all accounts to have been very amiable. A letter from one Careless to him when in prison addresses him as a 'meek and loving lamb of Christ.' He went cheerfully to the stake at Smithfield at 9 on 27 Jan. A priest, three tradesmen, and two women, were burnt with him.

 GREEN, BENJAMIN (1736?–1800?), mezzotint engraver, was born at Halesowen in Worcestershire about 1736. He was probably brother of Amos Green [q.v.], the flower painter, and John Green of Oxford, the line engraver. He became a member of the Incorporated Society of Artists, and contributed to its exhibitions from 1765 to 1774. He was a good draughtsman and became drawing-master at Christ's Hospital. He published many plates of antiquities drawn and etched by himself, and also engraved in line the views for the Oxford almanacs from 1760 to 1766, and the illustrations to Morant's 'History and Antiquities of the County of Essex,' published in 1768. Some of his plates after the works of George Stubbs, A.R.A., are good examples of mezzotint engraving They include 'Phaeton driving the Chariot of the Sun,' 'The Horse before the Lion's Den,' 'The Lion and Stag,' 'The Horse and the Lioness,' and an equestrian